"You've got two roads before you: One is the path of righteousness, where you carefully walk the road to the light—the direct route. That's your merry co-op play. The other is the path of heresy, searching for power along the path to darkness—the indirect route. Single player. It fits a shut-in lone wolf like yourself."The Hero is confronted with a choice between two mutually exclusive paths. Sometimes it's the choice between good and evil, law or chaos, or even just choosing between fire magic and ice magic. The point is, only one path can be taken, and there's no way back. The point of this trope isn't the choice; it's the act of presentation. As long as someone is presenting the choice as if the options are mutually exclusive and important to the character's life from then on, it doesn't matter what the choices are or who is presenting them. Shows up in video games quite often, even in games without a Karma Meter. See also Sadistic Choice and Take a Third Option. Has some symbolic relation to At the Crossroads. Super Trope of Red Pill, Blue Pill. Note that this trope can apply to events with more than two choices, so long as they are all still mutually exclusive. Not to be confused with At the Crossroads which is a trope about a more physical crossroads.
— Jack Rakan, Mahou Sensei Negima!
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Anime and Manga
- At the end of the second episode of Guilty Crown, Gai demands that Shu choose between returning to his normal life, and working with Funeral Parlor to free Japan. Shu chooses to go home...and Gai promptly sends Inori to his school, since Shu's ability is far too valuable to just ignore.
- The Trope Namer is Mahou Sensei Negima!, with Rakan explaining the difference between the main character's father's path and his master's path. Negi chooses the indirect route and begins the hard journey of mastering Magica Erebia, which transforms him into a kind of demon.
- In Pokémon, Dawn had to choose between Kenny, her childhood friend, and Ash, with whom she had been traveling for a long time. Guess whom she chose?
- Balto: Aleu gets this question posed to her by her Spirit Guide, Muru. She can continue on and find out who she really is, or return home to her family and old life. This one gets bonus points for being posed in song.
- The Dark Knight: The Joker offers Batman a choice between saving Harvey and saving the girl; likewise, he offers both a passenger-ship and a ship full of prisoners the choice of blowing up the other ship in order to save themselves. Also an example of the Sadistic Choice.
- It's presented as this in Batman Forever when The Riddler has Batman choose between saving Robin or Chase. Ultimately subverted, as Batman saves them both because he chooses to be both Bruce Wayne and Batman.
- The Matrix:
Agent Smith: It seems that you've been living two lives. In one life you're Thomas A. Anderson, program writer for a respectable software company. You have a Social Security number, you pay your taxes, and you help your landlady carry out her garbage. The other life is lived in computers where you go by the hacker alias "Neo", and are guilty of virtually every computer crime we have a law for. One of these lives has a future, and one of them does not.
- Morpheus offering Neo the red pill or blue pill in.
- After Neo is captured by the Agents he ends up in an interrogation room.
- The Matrix Reloaded also ends with the Architect offering Neo a choice between two doors — one accomplishes his mission (sort of), the other saves Trinity's life. Neo chooses Trinity.
- In Men in Black, all prospective agents have the choice between remaining in their current occupations and leading their lives, or joining the agency and severing all ties to their former lives.
James Edwards: Is it worth it?Agent K: Oh, it's worth it... if you're strong enough.
- in Mr. Nobody the plot resolves around these types of decisions, and the movie shows them all.
- Shows up in Star Wars pretty often.
Yoda: If you leave now, help them you could; but you would destroy all for which they have fought, and suffered.
- In Thank You For Smoking the Original Marlboro Man has cancer and is about to become a spokesperson for the anti-tobacco lobby. Nick presents him with a Briefcase Full of Money. The guy can take the money and provide for his family or he can decline it and speak out against his former employers. Nick makes it quite clear that the guy cannot do both and has to choose.
- Lampshaded in the opening narration of Last Man Standing. The protagonist then does the literal version, choosing to take the road to Jericho and kicking off the events of the movie.
It's a funny thing. No matter how low you sink there's still a right and a wrong, and you always end up choosing. You go one way so you can try to live with yourself. You can go the other, and still be walking around, but you're dead and you don't know it.
- In Cry of the Icemark, the warlock has a choice between being good and being evil, and there is a very specific point in the text where he chooses: Simple, easy and powerful, or good? The choice was obvious. And then Thirrin spoke.
- Huckleberry Finn wrestles with the question of obeying the law or helping Jim escape from slavery. He chooses the latter, even though he thinks it literally puts him on the road to Hell.
- Les Misérables: When Jean Valjean saves Javert’s life, any other person would have to chose between To Be Lawful or Good. Javert’s Moral Dilemma is pretty different:
He beheld before him two paths, both equally straight, but he beheld two; and that terrified him; him, who had never in all his life known more than one straight line. And, the poignant anguish lay in this, that the two paths were contrary to each other. One of these straight lines excluded the other. Which of the two was the true one?...... There were only two ways of escaping from it. One was to go resolutely to Jean Valjean, and restore to his cell the convict from the galleys. The other . . .
- The Robert Frost poem The Road Not Taken parodies this trope: even when the guy takes one road, there is no difference with the other except that it was less traveled. Even that is questionable, as the narrator claims that "the passing there had worn them both really about the same"; in other words, the appearance of both roads suggests that they've both had an equal amount of travellers, but the Unreliable Narrator assumes the one he took must have been the less popular choice. The whole point is that these roads were never mutually exclusive and the narrator is only a Small Name, Big Ego that thinks there was any difference. See more at its entry at MisaimedFandom.Literature
- The hero of Le Roman de la Rose had to choose between The Rose and Reason.
- Woody Allen sent this up:
More than any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly.
Live Action TV
- iCarly: Spencer uses this analogy to help Carly decide between staying at Ridgeway or switching to the private school Briarwood in iMay Switch Schools:
Spencer: Listen, I'm your older brother. So I will help you through this difficult decision. Just... just close your eyes.Carly: Okay. (She closes her eyes).Spencer: Okay. There's two roads in front of you. Road A, and... the-the... one on the left. (Pauses, then runs out of the room).Carly: (Opens her eyes, then laughs) Thank you!
- Monty Hall's "The box or the curtain?" on Let's Make a Deal
- On Star Trek: Voyager, the Doctor is presented a choice between saving a friend and saving someone he didn't know well, and both had identical chances of survival. The guilt from choosing his friend drives the Doctor insane as it creates a conflict between his base programming and what he'd become.
- "Yes, there are two paths you can go by, but in the long run/There's still time to change the road you're on"
- This trope is the whole basis of the Hemispheres suite; Love and Reason are struggling to be the driving force of humans. In the end, they Take a Third Option.
Myth and Legend
- In the Greek myth "The Judgment of Paris", he — had to choose among Wisdom, Power and Love (as personified by Athena, Hera, and Aphrodite, respectively). It wasn't entirely a fair choice, though — all three goddesses used bribes. He chooses Love, and is thus given the love of the most beautiful woman alive - Helen, who just happens to be married already. This leads directly to The Trojan War.
- Also from Greek myth, Heracles having to choose between an easy, comfortable life (pleasure) or a harsh, glorious one (virtue), he chose the latter.
- A similar prophecy affected Achilles - he would definitely die bored and unknown if he died old, and he would definitely die young if he went out finding glory in battle (which he is very good at) - namely The Trojan War. He was wanted the latter as a big Blood Knight and died in said war, despite his mother's attempts to keep him out of it.
- This is the famous Choice of Heracles: The allegorical figures of Vice and Virtue appeared to him to offer him a choice between a life of pleasures without achievement, and constant striving with great accomplishments. The story, from Prodikos, is told by Xenophon in his Apomnemoneumata.
- Also from Greek myth, Heracles having to choose between an easy, comfortable life (pleasure) or a harsh, glorious one (virtue), he chose the latter.
- Pheidippides had to choose between the two arguments in The Clouds.
- Mass Effect does this MANY times with the dialogue system, namely the Paragon (selfless, diplomatic, compassionate) and Renegade (aggressive, blunt, rude) responses for Commander Shepard. Each response one way or the other adds to your overall reputation, which measures both scales simultaneously, so you can be equal parts of both or mostly one or however you decide. Basically, it's a series of blue(Paragon) and red(Renegade) "small" doors that add up to an overall picture of whether Shepard is a by the end of the games. Played straight with many of the plot decisions, where there's a clear "one or the other" situation presented, with a corresponding Paragon/Renegade bonus to boot.
- Knights of the Old Republic is like this; while there is no designated "Lightside" and "Darkside" options dialogue, the context in conversations makes it pretty clear, played especially straight near the end, where the decision you make determines which of the two endings you get, regardless of where you are on the Light/Dark scale.
- Slightly subverted in Knights of the Old Republic II: The Sith Lords, where the ending you get is based more on whether you're Lightside or Darkside, rather than a clear choice of who to follow or what to do.
- Used less than subtly in Batman: Arkham City during the second-to-last Catwoman mission. While escaping from the vault with the loot she's been after the entire game, she hears about how Batman is in trouble and has to choose whether to go help him or escape with her money. The vault even has a green line painted toward the Batman door and a red one leading to the exit. You can take the red door if you want but it leads to a Non Standard Game Over where Batman and Gordon are killed and Oracle is left narrating as thugs sent by The Joker who has just become immortal raid Wayne Mansion.
- Kingdom Hearts has the choice among the sword, shield and wand, presented by... a caption thing stating in unequivocal terms that the choice will shape the rest of the adventure.
- In Chain of Memories, at the end of Riku's story, DiZ tells him to choose the road he'll take. The road to light, or the road to darkness. Riku chooses the middle road. "The road to dawn."
- The professor offering the player a choice among three starters at the beginning of every Pokémon game. There are also the fossils you can choose between in most versions, usually with a "fossil maniac" ready to take the one you don't grab.
- The Stanley Parable uses a version of this trope with two doors as a central motif.
- The later Ultima games began with a series of two-choice presentations, between which of two Virtues conflict in hypothetical situations. This is how the game determines your Character Class; each Virtue has a respective class, and the last Virtue you choose is your class. (Protip: Humility is the weakest class, the Shepherd, but because Humility is the basis of all Virtues, it makes being the Avatar easier in the long run.)
- The StarCraft II: Heart of the Swarm campaign has evolutions that can be applied to certain units. Once chosen, the evolution is permanent and the unselected one cannot be used for the remainder of the campaign.
- In Chapter 9 of Rakenzarn Tales, Kyuu needs to get into Kandur and can choose between slipping through the border the Knights have set up or by sneaking through a valley that connects to the Cyril Region. Both get him there either way, but it determines which party members and other allies join him on his adventure.
- Fallout 4: There are four factions that the player can support: The Minutemen, The Railroad, The Institute, and The Brotherhood of Steel. The Minutemen and The Railroad can get along together, but the Railroad, the Institute and the Brotherhood all hate each other, so whoever you support, two or three other factions have to be destroyed. The final decision comes fairly late in the game.
- Played for laughs in the Adventure Time episode "Another Way," when Finn meets at a crossroads where he must chose between going down a path that will make his hair fall out or a path that will make him smelly forever. He ops for a third option: going straight through the middle of the two paths, which happens to be covered in thorny bushes.
- In Avatar: The Last Airbender, at the end of season 2, Iroh tells Zuko he needs to choose whether to side with either the Avatar or Azula. The episode is even called "The Crossroads of Destiny." He chooses Azula, but it turns out he can change his mind.
- In the previous episode, Aang is being counseled into opening his chakras, which will allow him to enter the Avatar State at will, and remain in control while he does so — which has been one of his objectives for the entire season, after he unintentionally obliterated an entire enemy fleet while in the Avatar State in the previous season finale. All is going well, with Aang facing and overcoming various manifestations of his inner turmoil, until the final chakra, when it transpires that he will have to choose between his "worldly attachments" (read: love) and the "pure cosmic energy" that will allow him to master the Avatar State. He's on the verge of deciding when he has a premonition that his Love Interest Katara has just been captured and imprisoned. Before he can take off after her, his guru warns him that if he leaves now, he might not be able to use the Avatar State at all. He chooses to go anyway.
- In The Penguins of Madagascar episode The Hidden, Kowalski can't decide whom to save: Private, who owes him money or Marlene, who has vital information.
- In the episode Brush with Danger, Kowalski can't decide between saving the world or putting it in the danger of destroying it with his new future invention.